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1 82658 27762 8 FANTASTICAGE!BRONZE THE IN FOUR

Fantastic Four and Dr. Doom TM & © Marvel Characters, Inc. All Rights Reserved. Volume 1, Number 74 August 2014 Celebrating the Best Comics of Comics’ Bronze Age and Beyond! the '70s, '80s, '90s, and Beyond! EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow DESIGNER Rich Fowlks COVER ARTISTS and Josef Rubinstein (art from the “One Minute Later” TM collection of Michael Finn) COVER Glenn Whitmore COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Rob Kelly Jerry Boyd Sean Kleefeld Jonathan Rikard Peter B. Lewis Brown Brown Franck Martini Tim Brown BACK SEAT DRIVER: Editorial by Michael Eury ...... 2 Robert Menzies Jarrod Buttery Jason Shayer FLASHBACK: The Four in the 1970s ...... 3 Dewey Cassell Building upon the foundation laid by and Andy Smith Anthony Snyder FLASHBACK: , a No-Go ...... 23 Andrew Standish Marvel’s kinda-sorta efforts to spin off Johnny Michael Finn Stuart Fischer BACKSTAGE PASS: The and Other Things ...... 27 Grand Comics A television history of the animated FF Database Haffner Press INTERVIEW: Marvel Comics on the Air ...... 33 Ben Herman Tune in to The Fantastic Four Radio Show! Heritage Comics Auctions WHAT THE--?!: The Impossible Man ...... 37 Joe Hollon The Bronze Age return of the pest who was never supposed to come back (Marvel Books, 1984). TM & © Marvel Characters, Inc. OFF MY CHEST: The Fantastic Four: Going Cheap ...... 43 If you’re viewing a Digital Rob Kelly remembers the once-plentiful Mego FF figures Edition of this publication, BRING ON THE BAD GUYS: ...... 45 PLEASE READ THIS: The Devourer of Worlds is not your average This is copyrighted material, NOT intended for downloading anywhere except our FLASHBACK: The Fantastic Four in the 1980s ...... 55 website or Apps. If you downloaded it from A time of maturity and change for the FF and friends another website or torrent, go ahead and Fantastic Four: Island of Doom read it, and if you decide to keep it, DO BACK TALK ...... 75 THE RIGHT THING and buy a legal down- Captain and Colonel Future, reader comments about BI #69, and some FF extras load, or a printed copy. Otherwise, DELETE IT FROM YOUR DEVICE and DO NOT SHARE IT WITH FRIENDS OR POST IT ANYWHERE. If you enjoy our publications BACK ISSUE™ is published 8 times a year by TwoMorrows Publishing, 10407 Bedfordtown Drive, enough to download them, please pay for Raleigh, NC 27614. Michael Eury, Editor-in-Chief. John Morrow, Publisher. Editorial Office: BACK ISSUE, them so we can keep producing ones like c/o Michael Eury, Editor-in-Chief, 118 Edgewood Avenue NE, Concord, NC 28025. Email: this. Our digital editions should ONLY be [email protected]. Six-issue subscriptions: $60 Standard US, $85 Canada, $107 Surface downloaded within our Apps and at International. Please send subscription orders and funds to TwoMorrows, NOT to the editorial office. www.twomorrows.com Cover art by Keith Pollard and Josef Rubinstein. Fantastic Four and Dr. Doom TM & © Marvel Characters, Inc. All Rights Reserved. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © 2014 Michael Eury and TwoMorrows Publishing. BACK ISSUE is a TM of TwoMorrows Publishing. ISSN 1932-6904. Printed in China. FIRST PRINTING. Art by Earl Norem, from the storybook children’s

FF in the Bronze Age Issue • BACK ISSUE • 1 Stan and Jack. It’s possible the comics industry might have survived without them. There’s a chance that we may be reading comics—and even magazines about comics—today, although they’d almost certainly be very different. But it is impossible to overestimate the contribution these two creators made to the industry, starting with Fantastic Four #1 (Nov. 1961). Stan Lee and Jack Kirby produced 102 consecutive issues of Fantastic Four, plus six Annuals, before Kirby left Marvel Comics. John Romita, Sr. took over as artist with issue #103 (Oct. 1970), penciling the last two installments of a three-part story featuring and the Sub-Mariner. Romita also drew the next two issues as Johnny’s girlfriend, , leaves the team. Her physiology is no longer able to withstand the pollution of our world and she is forced to return to the ’ city of Attilan. took by J a r r o d B u t t e r y over with FF #107, as is given the ability to change back and forth into the Thing. Fantastic Four #108 (Mar. 1971) used portions of an uncompleted Lee/Kirby story, introducing the character of the Nega-Man. Kirby’s original intentions were reconstructed and documented by John Morrow in Fantastic Four: The Lost Adventure #1 (Apr. 2008). Buscema depicted the return of Annihilus in issues #109–110, followed by the of the Thing—driven insane by his latest “cure” in issue #111. A crazed Thing is confronted by the , in one of their classic slugfests, in FF #112. The next four issues depicted the threat of the . Stan Lee plotted the whole story but scripted issues #115–116, becoming the first person besides Stan to write Fantastic Four. Roy Thomas explained the situation in Tom DeFalco’s book, Comics Creators on Fantastic Four (Titan Books, 2005): “Stan was going to do a movie project with Alain Resnais and he needed to get rid of the few remaining books on his plate. I wanted to write Fantastic Four [but] I took [Amazing] Spider-Man because that’s what Stan wanted me to do.” With Reed possessed by the seemingly limitless mental powers of the alien Overmind and the entire Earth about to be destroyed, Sue turns to an unexpected ally—after all, it’s Dr. Doom’s world, too. Doom initially refuses to help and Sue laments that, despite their past differences, she had always thought him noble. In one of his character- defining speeches, Doom replies, “Many demons rule Victor von Doom, but not those of pettiness or fear. Very well, I am with you.” With Doom’s (and the ’s)

The World’s Greatest Comic Makers! Stan “The Man” Lee and Jack “King” Kirby, co-creators of the Fantastic Four, were winding down their collaboration by the time issue #100 (July 1970) arrived in the early Bronze Age. Fans wondered, would the FF survive without stan lee jack kirby them? Cover by Kirby and Joe Sinnott.

TM & © Marvel Characters, Inc.

FF in the Bronze Age Issue • BACK ISSUE • 3 Bad Ben and Bad help, the Overmind is defeated in issue #116 (Nov. white supremacy upon our continent.” Therein, 1971)—the tenth anniversary of the book’s debut. This T’Challa announces that he has changed his to Guy by Big John was also the month that Marvel briefly flirted with the Black Leopard. When Ben inquires about the (left) Original art page increasing the size of its comics from 36 to 52 pages, change, T’Challa replies: “I contemplate a return to making this issue an extra-sized spectacular. your country, Ben Grimm, where the latter term has … from “The Thing Goodwin also wrote the following two political connotations.” Amok,” from Fantastic issues as Johnny attempts to reunite with The change didn’t last long, as T’Challa Crystal—only to find her under the reclaimed the Panther title in Four #111 ( 1971), hypnotic control of . The conclusion #105 (Nov. 1972). “Stan insisted that by Stan Lee, John in issue #118 (Jan. 1972) was only ‘Panther’ become ‘Leopard,’ to avoid 15 pages long. The comic included confusion with the Black Panthers Buscema, and Joe a six-page backup story where Ben group,” explains Thomas. “I didn’t Sinnott. Courtesy of and travel to an Alternate- like the idea, but saw his point. Stan Earth, meeting a who soon saw that ‘Black Leopard’ didn’t Anthony Snyder became the Thing. Thomas was work as well, so he wanted it (www.anthonyscomic- asked if he had any insights into the changed back.” of this short story: “That was Stan returned for a four-part bookart.com). (right) the time when the books had Galactus story—which also introduced jumped to 52 pages for one or two his newest herald, Air-Walker—in The same art team roy thomas issues … then publisher Goodman issues #120–123, followed by the on the cover to issue suddenly decreed that we go back two-part return of the Monster from #120 (Mar. 1972). to 36 pages. That left us having to split stories in two the Lost Lagoon. His duties calling him elsewhere, Stan and fill the back-end of the second issues with other left the title for good—handing it over to Thomas who, Courtesy of Heritage material. I did a King Kull poem in Conan and a short in issue #126 (Sept. 1972), retold the FF’s origin and Auctions story in Hulk. Archie came up with this one. I think all adventure. This progressed into a three-way subter- these things turned out rather well, considering they ranean conflict between (from FF), (www.ha.com). were emergency fill-ins.” (from Incredible Hulk), and (from the

TM & © Marvel Characters, Inc. Thomas wrote issue #119 (Feb. 1972), depicting story in #43, July 1963). “As you the Black Panther imprisoned in a neighboring African probably know, I’ve always enjoyed tying together country: “One of the last remaining strongholds of threads of the ,” confirms Thomas.

4 • BACK ISSUE • FF in the Bronze Age Issue BATTLEGROUND: THE commence his run: “It was fun for a couple of reasons. Ladies Welcome! Injecting some cosmetic changes, Thomas changed First of all, I was taking over from Roy, who had plotted Johnny’s costume to and asked Buscema to draw the issue. My job was basically just to come in and write (left) Buscema/Sinnott Johnny’s a little more realistically. Sue is also the dialogue, which made it much easier for me to cover to FF #133 depicted more three-dimensionally—chafing when start off on the book because I wasn’t required to come Reed suggests she ‘stay home with the baby.’ This up with my own idea right off the bat. But the two (Apr. 1973), with comes to a head in issue #130. After defeating the things that made it really special for me was, one, writing (and FF , Sue snaps, “In the heat of battle, you a character like Thundra, who is a very powerful female didn’t think of me as a member of the team—not even figure. The second, and probably more fanboyish element member ). (right) as a wife—only as the ‘mother of your child!’” for me, was the opportunity to work with [artist] Interior art page from Sue leaves with Franklin, but Medusa, Ramona Fradon, who was also a powerful who helped against the villains, stays female, whose work I had really loved that issue (courtesy of with the team. Part one of this story, for years on . She was such Heritage) penciled and in issue #129 (Dec. 1972), introduced an interesting stylist and so different Thundra—initially as a new member from anything than any artist that signed by the artist of the Frightful Four, but someone had been working at Marvel at that best known for DC’s who would soon become an ally of our time. It was a lot of fun.” . Still pining over his girlfriend, Immediately from issue #134, and Johnny gatecrashes Attilan in issue Conway exhibits his penchant for Metamorpho, Ramona #131—discovering that Crystal has subplots and Marvel history. Having fallen in love with Quicksilver! lost Crystal, Johnny decides to visit Fradon. Inks by Sinnott. Thomas told DeFalco: “I was trying old girlfriend Dorrie Evans, staple of TM & © Marvel Characters, Inc. to shake things up a little bit. I had gerry conway no great feelings for Crystal as a character. I thought it would be fun to get rid of her and I liked the idea of bringing in Quicksilver.” Everyone must put aside their differences in issue #132 to battle Omega, an artificial being powered by the racial prejudice of the Inhumans toward their sub-caste Alpha Primitives. Did Thomas want to highlight the plight of the Alpha Primitives? “I guess so. I didn’t think of it that way … just as a reasonably good story idea that made a point.” Gerry Conway became the regular writer of Fantastic Four with issue #133 (Apr. 1973), featuring the return of Thundra. Conway admits a liking for strong female characters and was asked if this was a fun issue to

FF in the Bronze Age Issue • BACK ISSUE • 5 WHERE HAVE ALL THE POWERS GONE? Luke certainly acquits himself immediately, defeating Exposure to gamma radiation while battling the Hulk the in issue #168 (Mar. 1976). Surprisingly, Ol’ Greenskin’s in issues #166–167 transforms the Thing back into after years of moaning about being the Thing, Ben Back! Ben Grimm. Needing a replacement, Reed hires Luke Grimm immediately starts whining about no longer Cage, Power Man. In DeFalco’s FF book, Thomas was having any powers! He even takes a swing at the (right) Hulk smashed asked why he had Cage join the team: “Partly because upstart taking his place, and quickly discovers why you his way into he was a black character and I thought it would be don’t punch a man with -hard skin. Explaining interesting to have a black guy in the FF. Partly because that Luke was only a temporary replacement, Reed Fantastic Four #166 I helped create , but had never really written presents Ben with a Thing-exoskeleton in FF #170. (Jan. 1976). Cover by him. And partly because Luke had super-strength like Finally having the best of both worlds—the ability to the Thing and filled the same niche. Luke was also a be both Ben Grimm and the Thing—does Ben thank Buckler and Dan powerful outsider, but in a different way from Ben his oldest friend? No, he complains that he just Adkins. (left) Arthur Grimm. I never intended this change to be permanent doesn’t feel like a any more. Was Ben being but I had a lot of fun doing it.” too much of a jerk? “Try living in his shoes (or over- Adams’ recreation Discussing substitute team members, Buckler states, grown feet) for a few years and see what it does to of that cover, “Medusa, I never had a problem with. She just seemed you,” responds Thomas. to fit right in. I don’t know if Luke Cage was a good fit, Buckler recalls the story: “There were no writers’ in pencil form. though, since he wasn’t really a team player. He shook conferences back then, and no talking the story over Courtesy of Heritage. things up a lot and he did keep things lively and with the writer. I did have story input, though. I didn’t interesting. But a replacement for the Thing? As Ben come up with plot lines or anything, but with Gerry TM & © Marvel Characters, Inc. Grimm would put it: ‘Ya gotta be kiddin’ me!’” and Roy, ideas were always welcome. And I loved working with those two writers especially. I remember one time I suggested that Ben Grimm lose his powers and revert to human form for a spell. My idea was to have him go through an identity and have Reed invent some kind of exoskeleton that would enable him to be the Thing again. “The way things were done at Marvel, the artist was actually a co-storyteller,” Buckler says. “Nothing was done full-script. So with story plots to work from, that gave the artist a lot of freedom to interpret. Actual story pacing, and what was shown on what page and how—that was left up to the artist. My main concern was getting the characters right and keeping the story moving, and to make that as exciting and dramatic as possible. I remember, many times when a fight scene was called for, the written version would read

14 • BACK ISSUE • FF in the Bronze Age Issue A Johnny Storm/Human Torch solo series has never sparked into a blaze. While there have been attempts to stoke the , this member of the Fantastic Four has never been able to ignite a solo book of his own. (Okay, enough with the fire puns…) JOHNNY STORM’S TM The first attempt to spin off Johnny into a solo series was from Marvel megastars and Fantastic Four co-creators Stan Lee and Jack Kirby, at the behest of publisher Martin Goodman, who purportedly wished to emulate the success of former Marvel headliner Human Torch. In 1962, the Lee/Kirby duo—originally with scripting over Lee’s plots and inking Kirby’s pencils—launched a series of Human Torch short stories (originally 13 pages, but over time varying in length from 12 to 14 pages) in the anthology comic by J o n a t h a n R i k a r d B r o w n book Strange Tales, starting with issue #101 (Oct. 1962). with assistance from Robert Brown These stories attempted to create a connection between the (young) reader and the star of the comic, with Johnny Storm experiencing the negative side of his powers and the isolation felt when one has abilities that creates a secret life. On page one of the Torch’s first solo tale, titled “The Human Torch,” we see that Johnny lives in a quiet suburban town, and while the locals know that his sister has taken on the persona of Invisible Girl, Johnny’s ability to burst into flame is shielded from other citizens. (There is an editor’s note about some graduates from Johnny’s school knowing his status, but they have moved on with their lives.) The story shows how our hero’s everyday life has been altered as we are given the layout of his room, which Mr. Fantastic has outfitted with asbestos (!) to keep Johnny from burning down the house when he has a bad . The story continues to show an isolated Johnny’s entanglement with a new villain known simply as the . As the Human Torch engages this new foe in an amusement park, we see him struggle to keep his FF identity a secret while building meaningful relationships as Johnny. At one point, Johnny ducks into a cabin to flame off and is confronted by his friends. In a very -ish moment, Johnny simply replies, “I spotted [the Torch] in the woods and followed him to the cabin! I wanted to discover his real identity! He got away!!” Strange Tales would develop a supporting cast for the Torch that included his sister, Sue Storm, and love interest Doris (Dorrie) Evans. The series attempted to develop a ’ gallery for the young protagonist, though none of these villains achieved the iconic status like Dr. Doom or . As the series progressed it became clear that readers and Johnny were have a hard time connecting. By issue #123 (July 1964), the

Great Balls of Fire! Bronze Age-era fans remember this short-lived reprint series starring the FF’s hotheaded member. Cover to The Human Torch #1 (Sept. 1974) by and John Romita, Sr.

TM & © Marvel Characters, Inc.

FF in the Bronze Age Issue • BACK ISSUE • 23 TWIN TORCH TRYOUTS IN 1974 occasional appearances in Marvel Team-Up, served Combustible In 1972, the series Marvel Team-Up debuted, its format to test the waters for a new solo series as well as usually teaming Spider-Man with other Marvel Universe introduce a new generation of readers to the earlier Co-Star characters in one-and-done stories. The FF’s Human work of Lee and Kirby. Since the Strange Tales Torch (left) Splash page to Torch was the first character to appear alongside stories were not full-length comics, supplemental the -Slinger, co-starring with Spidey in MTU #1 material was needed to meet the page count. Since it Marvel Team-Up #24 (Mar. 1972) through #3 (July 1972). had been established that Johnny Storm was a fan of (Sept. 1974), teaming After appearing in the first three issues, it became comic books and of the Golden Age Human Torch, clear that the Torch was not the regular co-star, as Roy Thomas, editor of the reprint series, tells BACK ISSUE the Human Torch and MTU would continue to focus on Spider-Man with that he came up with the idea to fill out each Human Dr. Strange. Signed issue #4 on, leaving the Human Torch out in the cold Torch issue with Golden Age Human Torch reprints. … until issue #18 (Feb. 1974), that is, when the This may have just been an attempt to fill pages, but it by penciler Sal Human Torch teamed up with the Incredible Hulk to did provide an interesting way for the reader to build Buscema. Courtesy take on . a connection to young Mr. Storm. One could read his When asked about the motivation for giving Human adventures, then read the stories that inspired him. of Anthony Snyder Torch the go-ahead as the lead in Marvel Team-Up, This bimonthly Human Torch reprint book failed to (www.anthonyscomic- Roy Thomas says, “Not sure, but I have the feeling ignite fan interest and was canceled with issue #8 Stan worried about over-exposing Spider-Man, and he (Nov. 1975). In looking at the reasons why Human bookart.com). (right) wanted to see if he could make more of a star out of the Torch failed, Roy Thomas offers, “I think there are a /Frank Torch.” This was Stan Lee’s next attempt to see if the couple of reasons. Perhaps the most important is Human Torch could run with the torch of his own series, that, in the , it was characters with great Giacoia original allowing Spidey a much-needed rest. This experiment physical power who succeeded the most strongly … cover art to Human in Marvel Team-Up would continue off and on for a the Fantastic Four (with the Thing as the ), couple of years. The Human Torch would go on to the Hulk (after a slow start), Iron Man, . The Torch #3 (Jan. 1975), team with (#23), Thor (#26), Iron Man (#29), Human Torch’s power over fire worked well in a group, courtesy of Heritage the Son of Satan (#32), and Dr. Strange (#35). but didn’t excite ’60s kids as it had those in the ’40s. Also in 1974, Marvel reprinted the first eight of And I don’t think, somehow, that he ever established Comics Auctions Johnny Storm’s Strange Tales solo stories in a series titled enough of an identity beyond the FF book. The Torch (www.ha.com). The Human Torch, starting with a first issue cover-dated series [in Strange Tales] just always seemed like side- Sept. 1974. These reprint books, along with the Torch’s adventures to the main event. Perhaps an approach TM & © Marvel Characters, Inc.

FF in the Bronze Age Issue • BACK ISSUE • 25 It’s Your Thing (left) A publicity cel for the 1979 Fred and Barney by S t u a r t F i s c h e r Meet the Thing cartoon. According to Heritage Comics Auctions (www.ha.com), this cel originally came from the collection of an unnamed former Hanna-Barbera executive. (below) Title card from 1967’s Fantastic Four cartoon.

TM & © Marvel Characters, Inc.

The Fantastic Four is Marvel’s oldest continuing (despite and who would also look at other properties created by anybody who its during recent years). had a good idea for future television use. In 1961, when Stan Lee and Jack Kirby brought this team Sy Fischer, whose job it was to sell shows on behalf of his clients, into the American popular culture, little did anybody ever guess how Hanna-Barbera being one of them, saw potential in the Fantastic Four significant this comic book would become, not only in the comics when he asked his son if he thought that this comic book could be a medium, but beyond. good cartoon. Just six years after The Fantastic Four was introduced to the world Naturally, his son said, “Yes!” very enthusiastically, and the wheels as a comic book, it became the basis for a Saturday morning television at that point began to turn. weekly cartoon series, airing on ABC-TV and produced by Hanna- The very next day, the senior Fischer got on the phone with Barbera Productions. Barbera, the co-founder and head of Hanna-Barbera and told him of this The story of how this comic book became a television show is wonderful comic book published by Marvel Comics and recommended nothing short of … fantastic. that Hanna-Barbera get the rights to develop it for Saturday morning. Barbera then took a look at the FF and agreed with both his agent ANIMATED FF 1967 and his agent’s son that this super-team could be a good show, and that In the fall of 1966, Sy Fischer, a television agent who at the time it ought to be pitched to the networks as a weekly animated program. worked at the powerful Ashley Famous Agency (which would later Both Joe Barbera and Sy Fischer then contacted Stan Lee and merge with another large agency to form what is known today as asked if the rights were available, and luckily enough, they were. International Creative Management—ICM, for short), noticed his son, A deal was quickly made between the two companies and Hanna- Stuart (the author of this article), reading a Fantastic Four comic book. Barbera put the show into development and then pitched to ABC, and Hanna-Barbera, who was Sy Fischer’s client, was in the business quickly, it was on the ABC Saturday morning schedule for the Fall of 1967. of selling and making shows for the youth audience and became Marvel at this time was emerging as a solid force to observe. They a in that field by giving the world , Huckleberry already were selling a lot of comics, and the year before had a show Hound, Yogi Bear, The Adventures of Jonny Quest, and many others,

FF in the Bronze Age Issue • BACK ISSUE • 27 that was done by Krantz Films called , made for the first-run syndication market (off-network, for local TV stations). It consisted of five different shows under one umbrella, each shown on a certain day during the week: (on Monday); The Incredible Hulk (on Tuesday); Iron Man (on Wednesday); The Mighty Thor (on Thursday); and The Sub-Mariner (on Friday). [Editor’s note: Their theme songs are perhaps more legendary than the shows themselves.] Marvel was also beginning to merchandise their characters at this time, and was being taken seriously as a of entertainment Mr. Fantastic beyond the comic-book page. (top) Television agent Marvel had a very good year in 1967: the syndicated cartoon was still going, and it introduced two shows on Sy Fischer, in his New network Saturday morning television: The Fantastic York City office at Four, done by Hanna-Barbera, and Spider-Man, done by Krantz Films. Fantastic Four began one half-hour before 1 East 57 Street, Spider-Man, debuting on September 9, 1967 at 9:30 in helped bring the morning, with Spider-Man following at 10:00 A.. Fantastic Four was expertly done and very loyal to Fantastic Four to the comic book at the time. Hanna-Barbera and ABC Hanna-Barbera in retained Stan Lee and Jack Kirby as consultants. Designing the show was , an artist involved 1967. Photo in both animation and comics. His work was well courtesy of Stuart received by both professionals and fans, doing the Fabulous Foursome justice on the small screen. Fischer. (middle) Characters and stories from the comics were used Screen capture from in the show, including the Super-, , and the Mole Man, as well as a few original characters and the 1967 cartoon. stories created by Hanna-Barbera. (bottom left) FF’s voice actors were Gerald Mohr as Reed Richards/ Mr. Fantastic; JoAnn Pflug as Sue Storm/the Invisible Animation cels of Girl (Pflug was a successful actress who has done three of the four FF primetime television and made-for-television movies); Jack Flounders as Johnny Storm/the Human Torch; and members. (bottom as Ben Grimm/the Thing (Frees was of the right) Sound-effect cels animation industry’s finest voice actors, having worked mostly for Productions on Bullwinkle as from the show. All well as shows done by Filmation, Walter Lantz Studios, courtesy of Heritage. and Disney). Fantastic Four ran on ABC until March 15, 1970. TM & © Marvel Characters, Inc.

28 • BACK ISSUE • FF in the Bronze Age Issue by D e w e y C a s s e l l

Dial FF for Fantastic Four Album cover for an LP (that’s “Long-Playing record” for those in the post-vinyl era) containing episodes of The Adventures of the Fantastic Four— a.k.a. The Fantastic Four Radio Show. Scan courtesy of Peter B. Lewis.

Fantastic Four TM & © Marvel Characters, Inc.

The mid-1970s was a time of expanding horizons for Marvel Comics. The Fantastic Four Radio Show debuted in the fall of 1975. Not many In 1973, Marvel launched an in-house fan club called FOOM (Friends of people remember the show, much less that it was originally envisioned as Ol’ Marvel). In 1974, Marvel introduced a series of trade paperbacks the first part of a Marvel Comics Radio Series, but there were several published by Fireside, beginning with Origins of Marvel Comics. In 1975, noteworthy aspects of the program, particularly the cast, which included Marvel hosted its own comic-book convention at the Hotel Commodore a 25-year-old future star of the television show, , as in City. And that same year, seeking to reach a new audience, well as Marvel’s own Stan Lee. As was the case with many radio shows, Marvel took advantage of the latest in “modern” technology—radio. the main cast voiced leads and supporting characters, which included The notion of cartoon characters on radio was not new. One of the -Man, the Sub-Mariner, and the Hulk. The storylines for the shows, best examples would be Dick Tracy, which began as a in 1931 originally each five minutes in length, were adapted from early Fantastic and was adapted for radio beginning in 1934. The Dick Tracy episodes Four comic books. were 15 minutes in length (or 30 in later years) and ran until 1948. The Marvel Comics Radio Series was the brainchild of Richard Terry and the Pirates enjoyed a similar successful run. Numerous pulp Clorfene and Peter B. Lewis. Lewis had worked at several West Coast characters were also adapted to radio, including . And the radio stations prior to moving to New York in 1964. Clorfene moved Adventures of radio series began in 1940 and ran 11 years. to New York after serving as head creative writer and producer at Mel Common to them all was strong sponsorship. Blanc and Associates in Los Angeles. Clorfene and Lewis met while Audio dramatization of comic books was also not new. In fact, in working on a pilot for a radio drama series called Tales of the Energy. 1974, Power Records had begun producing “Book and Record Sets” that What follows are excerpts from an interview with Peter B. Lewis by Sean featured popular Marvel comics, including the Fantastic Four, accompa- Kleefeld on December 16, 1999. nied by seven-inch vinyl records. – Dewey Cassell

FF in the Bronze Age Issue • BACK ISSUE • 33 SEAN KLEEFELD: As I understand it, the original idea came from their studio at 21st Century, I used their offices to do the editing of Richard Clorfene and the two of you were able to take the idea to Stan the dialogue, I dubbed dozens of sounds from their effects library. Lee. How did you pitch the idea? I thought would do great as Johnny Storm. Bob Michaelson PETER B. LEWIS: Richard was really into and wanted to is the one who actually made the contact and signed him up. He was do it as a radio series. Experienced the Silver Surfer cult in Southern the most versatile of the Lampoon cast. He agreed to work for scale. California and knew it would be popular with them. We talked about it We needed a cast for the demo and Maxwell was the guy who (and millions of other possibilities) through the production of the pilot. knew who could do what. He knew Cynthia Adler, Terheyden, and In my day gig, I was a jingle engineer/mixer at a popular New Jim Pappas. Pappas had some experience, you saw him kinda York City studio, National Recording. Suddenly, through some light doing himself in commercials. I was unsure until I heard him do the conversation and what you’d only call a Coincidence of God, transformation from Ben Grimm to the Thing. He really under- I found myself talking with the wife of a songwriter stood how to make that change. A very tough thing to do live. who was working as a jingle singer on a gig I was KLEEFELD: Why did you start with the FF? doing. The wife, Ann Robinson, was in charge of LEWIS: Really, I guess it was my decision. I agreed licenses at Marvel Comics Group. She (and her with Richard [Clorfene] that Silver Surfer would be hubby, singer/songwriter Tommy West) had heard great. In retrospect, we maybe should have done and loved the Tales of the Energy pilot, she really that… For me, I truly believed this would be successful loved the idea of the Marvel Comics Radio Series, from the get-go. and she could grant me necessary license. She We would lay the same foundation Stan laid could also deliver Stan Lee. when he started out: characters with “feet of clay” Another part of my day gig was working at 21st and amazing powers. The foundation, our test-ground Century Communications, producers of the National if you will, would be the FF. After 13 weeks we’d get Lampoon Radio Hour. It’s really the precursor to on to the Silver Surfer. It gave Richard time to Saturday Night Live. I got to hang out with the cast recoup, get energized by the success of the project, bill murray and crew of the Lampoon, and got to know the guy and get to writing on the Silver Surfer. We’d also who put together the group of stations on which have the much-needed funding—we always thought National Lampoon Radio Hour was distributed, Bob Michaelson. Since we’d have a national advertiser. What a mistake. the Lampoon show was kinda winding down, Bob thought the Marvel Well, anyway, I was basically on my own with the thing, Marvel was show would be a good product to cycle into his network of stations. ready to grant a license, I had a cast, a studio, access to the Marvel We both thought getting an advertiser would be easy with a demo, library and Xerox copies of anything I wanted. For the demo, I picked [so] I wrote a demo. A dear friend of my family, a great and famous the section in issue one where they take the space ship and get hit by voice talent and [then] the boss of my girlfriend (now wife of 30 years), the cosmic rays, crash, and learn of their powers. It’s good exposition was Bob Maxwell. I called Bob up, told him the idea and what I needed, and demonstrates the idea pretty well. It also ran about five minutes. that I wanted to do this ensemble style, where we have the FF and a villain, I never met Stan until we did the first session. I never really pitched five principles, able to do a couple voices each, at least. I considered anyone. Ann Robinson liked me, liked the idea, talked to Stan, and he having the villains played by “guest stars.” He suggested Jerry must have liked the idea—she got him to agree to be the narrator! Terheyden because he is so versatile. Jerry is a great team player, too. I didn’t know anything about Marvel, or Stan Lee, or the comic-book I thought we only needed him for about half of the time but he was biz, or any of that stuff. I don’t think it is the kind of thing Marvel would at every minute of every session, because it was such fun for him! do on their own. If we hadn’t brought this to them, it never would I wanted to have a National Lampoon flavor to the sound, but I have been considered. We got rights to about a dozen characters didn’t want it to sound too much like the Lampoon. We recorded in (including Silver Surfer, of course), just to be on the safe side.

Fantastic 45 RPM (left) The precursor to The Fantastic Four Radio Show, the 1974 FF Book and Record Set from Power Records. (right) Peter B. Lewis, one of the creators of The Fantastic Four Radio Show, in 1978. Courtesy of Mr. Lewis.

Fantastic Four TM & © Marvel Characters, Inc.

34 • BACK ISSUE • FF in the Bronze Age Issue “At last the Fantastic Four meet a foe whose power is even greater than theirs! Here is: IMPOSSIBLE MAN.” He was never supposed to come back. His , in the pages of Fantastic Four #11 (Feb. 1963, inset), would seemingly seal his fate as the comics medium pressed on. Even from the start, the zaniness of this nameless alien from “the planet Poppup in the Tenth Galaxy” is qualified with editor notes and character commentary. In fact, the story’s fifth panel carries such a warning for readers: “Editor’s Note: By now, you’re probably thinking by A n d y S m i t h that Stan and Jack have flipped their lids! But wait— things may even get wackier!” Yet, the story continues. “The Impossible Man,” as dubbed by the Thing, proceeds to terrorize the Fantastic Four and citizens of Earth with lighthearted fare. A signature “POP” would denote a transformation into a giant buzzsaw, a movie monster, or a piece of cake. Even by Silver Age standards, it was a goofy—and admittedly humorous—tale of a bored alien with all of the power in the universe. He tries to make friends through transformations and pop-culture refer- ences, but his presence brought destruction. In , the team simply had to ignore him to make him go away. And his debut was not met with overwhelming praise. In fact, the term “hate mail” is often used to describe his reception. His creators, Stan Lee and Jack Kirby, moved on to a popular tale guest-starring the Hulk, and the little green man was barred from further use as the Silver Age continued. Perhaps the pest-like nature of the character was realized too fully, as some fans had a similar reaction as the Fantastic Four did. They wanted him to go away. And he did. But the Impossible Man, quite appropriately, did the impossible. He came back—13 years later. You can blame that on Roy Thomas. “IMPROBABLE AS IT MAY SEEM—THE IMPOSSIBLE MAN IS BACK IN TOWN!” “I really liked the first story when it came out in Fantastic Four #11,” Thomas tells BACK ISSUE. “The younger readers in particular disliked it, so much so that when I came to work there, somewhere along the line, when I talked to Stan about it, he

Improbable Return Writer Roy Thomas did the impossible, the unthinkable, in Fantastic Four #176 (Nov. 1976) by reviving the Impossible Man. Cover art by Jack Kirby and Joe Sinnott.

TM & © Marvel Characters, Inc.

FF in the Bronze Age Issue • BACK ISSUE • 37 Pérez, who would go on to reach comics stardom, the cover had a different, yet familiar look to it. “[Impossible Man’s] second story was the one I did with George Pérez,” Thomas says. “Until then, Stan wouldn’t allow the character to be used by anybody, but eventually, I not only got to use the character in The Fantastic Four, the book where he was first introduced, I even managed to get Jack Kirby to draw the cover, which I was very proud of. In fact, he drew it while the story was [in production], so a couple of things he put on the cover, like Impossible Man having pieces of the Marvel heroes on him, was done in time that [Pérez] actually worked some of that into the story. “I’m very proud be first to manage to bring Impossible Man back.” The cover, now the iconic image used for collections featuring Impy (his affectionate nickname in later issues) and webpages devoted to him, features the alien wreaking havoc upon the foursome. And it shows Impossible Man’s knack for multitasking, as his makeshift Iron Man glove blasts Human Torch in the while landing a whack on the Thing’s face with Thor’s hammer, , taking the place of his left hand. Sure, it’s doubtful that the alien would be worthy to pick up the hammer of the God of Thunder, but this is Impossible Man, after all. Before Impossible Man would return to his extraor- dinarily crude ways, Thomas would make him into a hero. It was Impy, after all, who would lead the Devourer of Worlds to his home planet to save Earthlings. It worked, too, even giving Galactus a terrible “case o’ terminal indigestion,” as the Thing would describe it so eloquently. Now, Impossible Man was the sole survivor, though the hive nature of his people implied the least conse- quential version of alien genocide. Despite the bold move, he quickly returned to his annoying ways as he set up shop on Earth. It was this issue, Impy’s first of several Bronze Age appearances, that Thomas and Pérez began a tradition that served as a callback to the 1960s. It was the first of many appearances in which Impy would visit Marvel. “The Fantastic Four pretty much behaved as the Fantastic Four would behave [in that issue]. The one thing that we allowed ourselves was to bring Stan and Jack in as guest stars into the story for a couple pages, and, in fact, the Marvel office [staff]. There’s always Tour de Farce wouldn’t let me or anyone else, for a number of years, been that tradition in comics since the early days, that use the Impossible Man in another story.” Marvel was doing a comic about the Fantastic Four.” Panels from FF #176. Thomas had arrived at Marvel in 1965, two years Impossible Man, in his typical bored fashion, Among the issue’s after Impossible Man’s sole issue, upon taking the heads over a couple streets from the previous scene. company’s infamous and short-lived “script test.” His His head, now rendered as a balloon, is seen spying cameos are (top, left first gig, as staff writer, led to a growing résumé of into the company’s fifth-floor window at 575 Madison to right) Jack Kirby, works that show Marvel’s diversity in those days— Avenue. A conversation is taking place between Kirby, including the genres of romance, fantasy, , and, Lee, Pérez, and Thomas. George Pérez, Roy yes, superheroes. After further imprinting his name in “‘Stan’? What is a ‘Stan’?” Impy humorously ponders. Thomas, and Stan the Marvel lexicon, tackling larger-scale books and He quickly becomes infatuated with the concept characters, in 1972 he found himself in the position of of comic books, and after barging into the building, Lee. (bottom) Impy the company’s second editor-in-chief. demands that they make an Impossible Man solo decides he wants to Simultaneously, he took over writing duties for series. Stan recognizes Impy, saying that “a lot of our Fantastic Four, the so-called “World’s Greatest Comics readers didn’t like that issue, because he looked too be a comic-book star! Magazine.” His run was marked by dramatic bouts and silly.” His refusal is not met well. Stan, the character, ends up going back on his TM & © Marvel Characters, Inc. the team’s continued evolution as a family. Over 50 issues into his run, he decided to try something different. word, making one more joke about “silly-looking He wanted to bring back this silly alien that many had characters” with a framed photo of forgotten from the previous decade. behind him. The real-life Lee, as well as fans, had And with that, the Impossible Man made his Bronze actually come around to the character’s presence. Age debut well after Fantastic Four hit the three-digit Stan Lee “never complained about it afterwards,” mark in its run, in #176 (Nov. 1976). Though interiors Thomas says. “I don’t recall us getting a lot of angry were done by a then-young and new artist in George mail that time. By then, comics readers kind of grew up

38 • BACK ISSUE • FF in the Bronze Age Issue The first mention of Galactus comes from the mouth of a Skrull space commander as his crew encounters the Silver Surfer in deep space (The Fantastic Four #48, Mar. 1966): “It is not merely him, you fool!! Have you not studied your cosmic history? Wherever he appears, it is certain that Galactus cannot be very far behind!” From that introduction, Stan Lee and Jack Kirby boldly set up a universal presence for this new cosmic character, harvesting a sense of fear and grandeur. The story of Galan of Taa isn’t your typical “Bring on the Bad Guys” article. Galactus rises above the archetypal definition of a villain, as he can’t be pinned down as evil. Galactus acts as a dynamic force that compels protagonists to reevaluate their place in the universe, putting perspective on their goals and their existence. Through this mysterious and complex character, creators for decades have explored the vast cosmic unknown and populated it with their own ideas and constructs. THE GALACTUS TRILOGY In the classic Galactus Trilogy (Fantastic Four #48–50, Mar.–May 1966), the Silver Surfer leads his master to Earth, despite the efforts of the usually passive and stoic . Lee and Kirby took the “World’s Greatest Comic Magazine” to a new level—our heroes had repelled alien invasions and defeated every Earth-based threat, but now they faced a new cosmic antagonist that would put them in their place. From his conception, Galactus was meant to be more than just another villain. Lee wanted a character who broke their supervillain mold. “We didn’t want to use the tired old cliché about him wanting to conquer the world,” recalled Stan Lee in his introduction to vol. 25 (Oct. 1993). “There were enough would-be world conquerors in the Marvel Universe and in all the other comic-book galaxies. That was when inspiration struck. Why not have him not be a really evil person? After all, a demi-god should be beyond mere good and evil. He’d just be (don’t laugh!) hungry. And the nourishment he’d require is the life force and energy from living planets!” Galactus arrives in dramatic fashion and doesn’t acknowledge the existence of our heroes, but instead confronts the Watcher, who he treats as an equal. Uatu, who has been assigned by his advanced race to observe the Earth, argues that Galactus should spare the Earth because of the potential of humankind. Galactus isn’t moved by the Watcher’s pleas: “It is not my intention to injure any living being! But … I must replenish my by J a s o n S h a y e r Not Your Routine We salute the Jack Kirby/ cover of The Mighty Thor #169 (Oct. 1969) with a montage of Galactus cover appearances.

All covers and characters TM & © Marvel Characters, Inc., except and , TM & © DC Comics.

FF in the Bronze Age Issue • BACK ISSUE • 45 Silver Age Classics energy! If petty creatures are wiped out when I drain a used in comics. They were above mythic figures. And, planet, it is regrettable … but unavoidable!” of course, they were the first gods.” (left) Fantastic Four While Galactus may be removed from human It’s difficult not to see biblical themes that are #48 (Mar. 1966) emotions, his faithful herald proves to be his conscience. leveraged in the relationship between Galactus and the The Silver Surfer learns firsthand about humanity Silver Surfer. The Silver Surfer is the fallen who rocked the world. through the blind sculptress, Alicia Masters. In Fantastic was willing to defy his god’s desires. For his insolence, (right) Galactus’ Four #50 (May 1966), the Surfer has an epiphany and Galactus punishes the Surfer in a similar way to takes up humanity’s cause against his master. So strong being cast out and denied re-entry into the Kingdom reach extended are his newfound convictions, the Silver Surfer attacks of Heaven. And keeping with the biblical themes, the outside of the FF— Galactus, ever knowing that even his cosmic might is Watcher plays the satanic figure with his offer of nothing compared to that of his creator. knowledge with the Ultimate Nullifier, which parallels including this With the help of the Watcher and the Silver Surfer, the apple from the garden Eden. You can also see the appearance in Thor the Fantastic Four and Earth meet Galactus’ challenge Watcher’s role as a modern-day Prometheus, bringing and earn their continued existence. While it may have cosmic knowledge to the Marvel heroes, like #168 (Sept. 1969). been a bluff, Reed Richards was prepared to sacrifice Prometheus brought fire down from Olympus. Covers by Jack Kirby himself to destroy Galactus by using the Ultimate Nullifier. Before leaving, Galactus strikes down his former GALACTUS: THE ORIGIN and Joe Sinnott. herald and binds the Silver Surfer to the Earth. Concerned of the potential threat that Galactus may one day pose to , the All-Father in The TM & © Marvel Characters, Inc. “And for some reason I went to the Bible and I came up with Galactus,” revealed Jack Kirby during an interview Mighty Thor #167 (Aug. 1969) dispatches Thor to for The Masters of the Comic Book Art documentary in gather more information. Galactus welcomes the 1987. “And there I was, in front of this tremendous audience with Thor and they have a cordial sit-down figure, who I knew very well because I’ve always felt where Galactus explains that he isn’t a direct threat. him, and I certainly couldn’t treat him in the same way Galactus relates his origin and his primordial need to that I would any ordinary mortal. And I remember in my feed off of the energies of living worlds. first story, I had to back away from him to resolve that At first, this Lee and Kirby origin seems similar to story. And, of course, the Silver Surfer is a fallen angel, the origin of Superman, instead with a scientist named and when Galactus relegated him to Earth, he stayed on Galen who has realized that their civilization is Earth. And that was the beginning of his adventures. doomed. However, it’s not just the world of Taa, but And they were figures that had never before been the universe itself that is dying. Galen departs with a

46 • BACK ISSUE • FF in the Bronze Age Issue his ! You can end his ceaseless, monstrous craving Richards in #9 (Jan. 1985). Galactus Heralds Two for the very essence of living worlds—let it be done! recovers from his defeat at the hands of the Courtesy of Heritage, I will not wait! I will not let some petty charade delay and is unwavering in his determination to confront the my respite! The must end now!” Beyonder again. original cover art by Galactus’ goal isn’t to defeat or attack the Beyonder, After an audience with Galactus, Reed returns to the , but rather to demand that the Beyonder free him of his heroes to convince them that Galactus should be allowed cosmic burden. Shooter’s perspective adds a tragic to devour the planet. He argues that if the Beyonder inked and signed flare to the Galactus’ character as he struggles with a does honor the rewards of a victory in his game, it would by Joe Rubinstein, torturous existence. But the Beyonder proves to be be for the greater good. Shooter’s interpretation of more powerful than Galactus and swats him aside like Galactus’ greatest desire was that he longs to be free of the for the first issue of an annoying insect. While Galactus didn’t really destructive hunger that compels him to devour writer Steve fit into the Secret Wars’ theme of good worlds. Fulfilling that desire would save versus evil, he serves as a means to calibrate countless planets and lives. What becomes Englehart’s Silver the power levels of the Beyonder. evident in Shooter’s take on Galactus is Surfer series. (inset) “And why Galactus? He doesn’t that he is being rather selfish and per- fit! Human beings and even gods haps all too human, putting his needs Cover to issue #1 may be tempted, but Galactus is a before the larger needs of the uni- (July 1987), in color. force of nature—no more capable verse. If he could be purged of his of having enemies than a hurri- need to devour planets, it would TM & © Marvel Characters, Inc. cane or an earthquake!” asks Reed jeopardize his cosmic role. Perhaps we can look at this event as a momentary lapse of judgment or weakness, where Galactus sees an opportunity to bypass a rather challenging cos- marshall rogers mic . Photo by Tenebrae However, the heroes aren’t swayed at English Wikipedia. by Reed’s logic and continue to fight. The heroes successfully defend the planet and drive off Galactus. He returns to his homeworld spacecraft Taa II and consumes it. But before he can absorb that energy, Dr. Doom siphons his powers and uses it to temporarily defeat the Beyonder. As the concludes with the Beyonder being restored to power, there’s no closure in terms of what happens to Galactus. The conse- quences of this event expanded the cosmic-power levels of the Marvel Universe, created a power class beyond Galactus, and put a charac- ter perspective on Galactus that would be used by later creators. ENGLEHART’S SILVER SURFER “When I took over the Silver Surfer, the one thing I wanted to do was get him back into space, free, and after a few bumps in the road, Marvel let me do that. So I got to explore him when he wasn’t whining about being trapped all the time,” Englehart tells BACK ISSUE readers. “My Silver Surfer got to roam the spaceways and participate, or not participate, with the cosmic beings he encountered, as he chose. But it was always just under the surface that Galactus made him and Galactus could unmake him at any time. Thus, the story where he stood up to Galactus was a watershed moment. The Silver Surfer might die, but the Surfer wouldn’t whine any more.” In The Silver Surfer #9 (Mar. 1988), the Elders of the Universe set a plan into motion to use the six soul gems to destroy Galactus. By destroying Galactus, the Elders hope to destroy and and bring an end to the universe and ultimately end their eternal existence with which they had become disenchanted. “Putting the Silver Surfer back into space gave me all of [Marvel] space to play with, and all inhabitants

52 • BACK ISSUE • FF in the Bronze Age Issue thereof,” Englehart says. “The Elders of the Universe were fairly minor characters as individuals, but putting them together made for a rich and complex mix, and all together added up to something able to take on Galactus. I don’t think I had any larger message; I was just playing with the pieces I’d gotten myself.” The Elders of the Universe almost succeed, but the Silver Surfer and rescue Galactus, and he then devours his enemies. Englehart defines Galactus’ place in the Marvel Universe in Silver Surfer #10 (Apr. 1988): “Galactus is the third force in reality. Between the entities called Death and Eternity. I exist to rectify their imbalances!” Galactus then has a discussion with Eternity, to whom he refers as “father” and takes the form of living sun to interact with him. “To me, Eternity brings Allness, and Death brings Nothingness—and Galactus is the being who transforms All to Nothing by consuming it,” according to Englehart. “He’s the link between Alpha and Omega, and just as important in the scheme of things because without a connection, the first two exist in complete solitude. Thus, a sun made sense for him, because suns consume themselves on the way to Nothingness.” The issue wraps up with a lingering plot thread that has Galactus suffering from a case of indigestion, unable to properly digest the Elders. That plot thread is picked up a few months later in Silver Surfer #16 (Oct. 1988), with Galactus dying because he was unable to digest the Elders he had devoured. He pleads for assistance from Reed and Susan Richards and the Silver Surfer. Their adventures bring them into contact with another paired set of cosmic beings, Chaos and Order. While Eternity and Death are the base forces of the Marvel core reality, Order and Chaos are a similar representation of another reality. While Chaos and Order are more naturally at odds, Eternity and Death are less confrontational. The Marvel core reality needs a force like Galactus to shake up that balance every once and awhile. Impressed by that trinity, Chaos and Order decide to create the being called the In-Betweener to escalate their own conflict. Englehart, as many other writers, hints at Galactus having a greater purpose. But is that purpose so far removed from what we can understand that we shouldn’t bother, or does that perhaps drive us to become something more? “I enjoy thinking about stuff like that, so I’m all in favor of striving for something greater than we think we are,” admits Englehart. “Galactus caused me to think and hopefully can cause others to do the same. But as for whether he gives a damn about that or us— these beings exist. Instead, he had them engage in A Legend Retold I don’t think he does. If he thought about the lives he old-fashioned fisticuffs. “Those two are cosmic beings was consuming, he’d go mad, so he doesn’t consider but they were in conflict,” says Englehart. “Possibly Original art to Byrne’s us at all. It’s like eating yogurt; there are millions of everything we see of them is simply our interpretation homage to the classic bacteria in there, and we could care less.” of events we can’t really comprehend. Based on his In Silver Surfer #17 (Nov. 1988), the In-Betweener name, Galactus might actually be the galaxy.” Silver Surfer/Galactus describes himself as “I am everything, for I am nothing! Galactus is eager to rid this reality of the In-Betweener, tale, produced as a I am a concept … of concepts!” The undevoured as he represents a threat to Galactus’ existence since Elders convince the In-Betweener to kill Galactus. In his he wanted to take Galactus’ place. The threat of the pinup for the FF’s weakened state, Galactus can’t defend himself. In-Betweener was a challenge to Galactus’ identity and 30th Anniversary However, the In-Betweener can’t destroy Galactus, his role in the universe. The In-Betweener proves to be since Galactus is a unique being and there is no other a foe that can Galactus on every level, and in the issue, Fantastic Four cosmic force that is diametrically opposed to him. end became that diametric opposite that he himself #358 (Nov. 1991). Chaos and Order intercede at the behest of the Silver had been looking for to defeat Galactus. The faithfulness Surfer and free Galactus of the indigestible Elders. of his herald Nova helps turn the tide of their battle, Courtesy of Heritage Silver Surfer #18 (Dec. 1988) features one of the more and the In-Betweener is sent back to his reality and Comics Auctions. memorable cosmic slugfests of the 1980s, pitting into the hands of Chaos and Order. Galactus against the In-Betweener. Englehart cleverly Englehart recalls, “The first Marvel comic I ever TM & © Marvel Characters, Inc. knew his teenaged audience wouldn’t appreciate a bought was The Fantastic Four #49, right in the middle fight on the metaphysical level of the reality in which of the Galactus Saga as illustrated by Jack Kirby and Joe

FF in the Bronze Age Issue • BACK ISSUE • 53 The names of the creators who worked on The Fantastic Four during this decade would be enough to let you envision how great the 1980s were for Reed, Sue, Johnny, Ben, and the short-term members of the team: Wolfman, Byrne, Pollard, Englehart, Stern, Buscema (both!), and Sienkiewicz … and Sinnott, of course—do you really need more as an intro? Imagine entering a comic shop (or more likely a newsstand) in late 1979 and discovering the Marvel comics bearing a January 1980 cover date… Many of those issues feature storylines that are frequently featured in Top Ten lists: Tony Stark was recovering from his battle with alcoholism in Iron Man #130 (by Michelinie and Layton); The Amazing Spider-Man was celebrating its 200th issue (by Wolfman and Pollard), with Spidey settling an old score with the who killed ; had a fill-in issue by Steve by Franck Martini Ditko (#162), but that was just a breather between two Miller/Janson issues; the Avengers were fighting the Grey in #191 (by Stern, Michelinie, and Byrne); the X-Men were about to fight for their lives against a new group of villains you may have heard of— the —in issue #129 (by Claremont and Byrne); and Johnny Storm was the only remaining living member of the FF while Ben, Sue, and Reed lay dead of old age at his feet in Fantastic Four #214 (by Wolfman and Byrne—yes, Byrne again, providing art for the top three team books of Marvel that month!). The early ’80s Marvel Comics at one of its finest periods ever, and a very large chunk of the decade would follow in the same vein. Fantastic Four follows this trend: classic stories, some of the best creators in the field, major turning points, epic sagas, romance, death, new characters—this decade had it all! REFRESHED FOR THE ’80s BY WOLFMAN As it is frequently the case, the ’80s do not really start in January 1980 for the FF. The real beginning of a new era of the Fantastic Four takes place 18 months before, as Marv Wolfman takes over the writing chores of the book. Simply put, it is a team book with a split team. And truth to be told, those splits were quite commonplace for the FF during the ’70s. Departures from the team, power losses, new members, alternate versions of characters—it really felt like a lot of the ’70s was spent deconstructing the classic of the Fantastic Four. Such was the feeling for Wolfman: “As a fan, I was tired of seeing the FF split up time and again. It felt old in the been-there/done-that sort of way. So my idea

Dynamic Decade While Fantastic Four was graced by numerous A-list creators during the 1980s, standing at the top of the was writer/artist , who instituted change—while main- taining a “back to basics” approach. Cover to FF’s 20th Anniversary issue, #236 (Nov. 1981), inked by Terry Austin.

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FF in the Bronze Age Issue • BACK ISSUE • 55 was to keep them together and just have adventures quite a new take on the Torch: “I forget why I wrote it the way Stan and Jack had done.” like this, but I think it had to do with not using him Wolfman Focusing on the “Stan and Jack way” would be a that much in a positive way before,” Marv says. frequent motto throughout Wolfman’s run. He would Wolfman’s run concludes after a final two-parter Winds Down create epic storylines, with two major highlights, involving a scientist turned into a god, the intervention Among Marv’s starting with the Dr. Doom story that spans from issue of Blaastar, and quite an impressive display of power #195 to 200 (June–Nov. 1978). “I wanted to do by Franklin Richards: “I definitely wanted contributions to the FF a massive, emotional battle between them,” Franklin’s powers to be worrisome. In fiction, canon: (left) an aged he reveals. “As a fan, I hated the idea that everything needs to be a dramatic every confrontation between hero and problem until it’s not.” FF in issue #214 villain was indecisive. I wanted a real This was a run that Marv Wolfman (Jan. 1980, cover by confrontation with a real climax and never really enjoyed: “I loved The I wanted it to be personal and Fantastic Four, but felt as a writer, John Byrne and Joe emotional.” Then the team would be except for issue #200, I never did the Sinnott) and (right) a embarked in a major story involving job on the title I wanted to. Stan and the , the (ending Jack had left huge footprints and I with some plots leftover in the Nova book didn’t feel that I filled them at all.” Spectacular Spider-Man also written by Wolfman), and Galactus Amazingly, Wolfman is one of and the creation of his herald . the rare writers who kept the classic #42 in issue #218 Wolfman realized that “Galactus was roster throughout his run: “I think marv wolfman (May 1980, cover art using elemental characters as his the FF works only when the main heralds.” The story finishes in the four are there and not when there by and aforementioned issue #214 (Jan. 1980), where Ben, are substitutes,” he said in BACK ISSUE #7 (Nov. 2004). Sinnott); the latter Sue, and Reed are all dying of old age as they were shot Issue #218 (May 1980) is a crossover issue with by an aging by Skrulls a few issues before. This issue Peter Parker, the Spectacular Spider-Man, and is notable issue heralded the is essentially a solo Torch story, as Johnny tries to find a because of the return of the classic FF logo—which return of the original way to reverse the effects of the gun and save his would stay for the rest of the decade. teammates. With the aid of a dying Reed, the Torch Following Marv Wolfman, an odd two-part Fantastic Four logo. manages to save the day, albeit after a few pages of inventory story written and drawn by John Byrne TM & © Marvel Characters, Inc. self-deprecation as he believes he has failed. It was appeared in FF #220–221 (July–Aug. 1980). Recalled

56 • BACK ISSUE • FF in the Bronze Age Issue Byrne in Tom DeFalco’s Comics Creators on Fantastic Four (Titan Books, 2004): “Ah, the Coca-Cola story! … [Coke] wanted to use the FF [for a story they would distribute], so I came up with a self-contained, very innocuous kind of story. … It was less than a double- sized issue, and when it was finished, Coca-Cola said it was too violent … and they rejected it. [Editor] suggested we cut it in half, add a couple of pages, and turn it into two issues of Fantastic Four. They are the two dullest issues of the FF ever published.” A VISUAL SHAKE-UP WITH became the next FF writer, for a relatively short run on issues #219 (June 1980), and 222–231, the after fighting a Franklin plus one Annual (#15). It’s quite a living black hole (#228–231). surprising run, and was appreciated Moench describes the FF as “a Under by readers, according to the letters bill sienkiewicz family unit under a lot of stress and (left) Bill Sienkiewicz’s page. Sub-Mariner appears in the constantly bickering, but they really first issue (#219), then none of the Photo by Luigin Novi. love one another.” What is striking startling cover to FF “classic” FF foes will appear until after Moench’s departure. about his run on FF is how much the family aspect of #222 (Sept. 1980); “I was told to stay away from the established guys for the book is emphasized. Just view how much Franklin at least a year,” Moench reflected in Comics Creators on Richards is used during those issues. He is involved in inked by Joe Sinnott. Fantastic Four. “I remember looking forward to using most of the stories and central in two of them (Salem (right) Courtesy of the classic villains, but I ended up leaving the book Seven’s and ). It is quite a fresh before I ever had a chance to use any of them.” approach on the character, and it definitely changes Heritage, the George Moench brings back the Salem Seven for a three- the tone of the book and the stories. Roussos color guide parter focusing on Franklin’s powers (#221–223); Visually, those issues are drawn by Bill Sienkiewicz the FF fight a Norse God crying tears of crimson, and inked by regular Joe Sinnott and some guest to the splash page with a little help from a familiar God of Thunder (, Bruce Patterson). Obviously, this talented of #225, the issue (#224–225); they team up with the Shogun Warriors artist had to bring his touch to Fantastic Four, albeit a style against a giant “” (#226); fight against Body quite influenced by other artists at the time: “The Neal featuring a Snatchers-like creatures called Parasites in Adams influence was a major and most obvious aspect to Thor cameo. an horrific tale (#227); and the last three issues my work,” said Sienkiewicz in The Jack Kirby #33 become more cosmic, as the FF are transported into (Nov. 2001). “When I was asked to do the book, I turned TM & © Marvel Characters, Inc.

FF in the Bronze Age Issue • BACK ISSUE • 57 fit anywhere else. So I thought, ‘Let’s have Sue pregnant subplots (along with Johnny and Alicia’s developing Doesn’t again and have her lose the baby, and I can have romance) can appear more appealing that the main essentially the same emotional impact.’” stories in the book. Live Here Tortured physically by (#277, Apr. 1985) Byrne offered a later take on Sue’s evolution in Anymore and then manipulated by Psycho-Man, an unhinged Magazine #47 (July 1995): “I used to adopt a Susan snaps and goes “Dark Phoenix,” becoming the character on each book. On FF it was Sue, far and Sue in her “Dark evil creature Malice in #280 (July 1985). Fighting her away. She was such a when I came on, and I ” teammates to a standstill, Sue is finally freed of her wanted to find out what I could do with her without Malice persona after an intense exchange with Reed turning her into someone else.” guise of Malice. that contains a lot of dirty laundry and covers a lot of (As a footnote, in 1987’s post-Byrne Fantastic Four inks previously unspoken issues between the two. #300, an issue written by and drawn by A vengeful Sue leads the attack against Psycho- John and Sal Buscema, Sue is out with She-Hulk and Byrne on this Man’s micro world in FF #282–284 (Aug.–Oct. 1985), Alicia, shopping for the upcoming wedding of the original art page to which is emotionally difficult for her. The final victory Human Torch and Alicia. Meanwhile, Reed is at home is a bitter one: The evolution of Sue concludes playing with Franklin, who’s riding his dad like a #280 (July 1985, as she gives Psycho-Man a taste of his own cowboy—mirroring the splash page of issue courtesy of medicine and changes her codename, #222. That’s a nice but simple example deciding she is now to be called the of how things have changed in the way Heritage) and the Invisible Woman. Sue is depicted in a few years but also cover to #281. In 1985, Byrne said: “I’m inclined how Reed has grown into a more to think that she is the most powerful present father as well.) TM & © Marvel Characters, Inc. member of the group. Part of the whole scenario I did with the ‘Dark Invisible Girl’ story was to demon- strate how powerful Sue is. She has certain limitations because she’s ‘one of ’ and cannot utilize her power to its full content. … By john byrne removing the barriers, by letting Malice (the Dark Sue character) cut loose with Sue’s powerful force, I was able to demonstrate that this is a lady you don’t mess around with.” Sue would also deal with the apparent death of Reed in Byrne’s final issues with a lot of courage and strength, perhaps as of her new name and status. Byrne writes Sue with a lot of subtlety during his six-year tenure, and at times his Invisible Woman

FF in the Bronze Age Issue • BACK ISSUE • 63 as it turned out.” In terms of writing, it was quite experimental, as Byrne recalled to : “I penciled the page completely and then … tried to squeeze in the dialogue I had in my head. Like all new writers, I was verbose.” Artistically, he switched from full pencils to breakdowns. “It took me ten issues to find a comfortable inking style. The first time I was comfortable with the inks was my first major Galactus story [#243],” he admitted in Wizard #47. The reasons of Byrne’s departure from Fantastic Four are numerous (office politics, his move to DC to take over Superman, his tumultuous relationship with , a certain loss of interest) and vastly documented. Byrne would never return to FF, even though it was proposed to him twice: “I dislike setting myself up for comparison with my earlier work,” he said in an online chat in 1998. Alicia and Johnny, page 11, panels 1 and 2) and some less subtle ones Overall it was a labor of love, and perhaps more (#254, page 6, panel 5, and page 10). Johnny and than that: “I plugged into the FF as I have no other Sittin’ in a Tree… Alicia clearly seem to spend prenuptial nights together book, my creations included. Perhaps it is the long fan Writer Roger Stern’s FF (#275, page 12, and #277, pages 6–9). There is innuendo association … or the long professional association, around Wyatt and She-Hulk (starting with #270), and tenure was brief, but but I knew those people as well as I know members of the paparazzi snapping risqué pictures of She-Hulk in my own family. Everything else has been fun in its own he rocked Ben’s world #275 show her lack of inhibitions. Sexual references way, but the FF was nearly a vocation.” (especially for non-married people) were quite new at the by marrying the Thing’s time in a major mainstream book, and these situations THE SHORT ROGER STERN STINT former girlfriend Alicia were always nicely handled by Byrne. Roger Stern has a lot in common with John Byrne. They So, what is Byrne’s opinion on mature themes? are friends. They worked together—as editor/artist Masters and Johnny Right after writing #285 (Dec. 1985), he declared that (Uncanny X-Men) and as writer/artist (Captain America Storm in Fantastic Four “the morality of the stories I write has to be different and many more afterwards). And Stern would twice from if I was writing for a different audience because become the writer to follow Byrne on a title, first on #300 (Mar. 1987). we’re doing it for children. … We can do death, Fantastic Four—starting in 1985 as scripter over Byrne’s Cover and interior miscarriages, drugs, abortion, and God knows what plot in #294, then as writer in #295—and then two as long as we handle it properly. You don’t want to years later at DC on the Superman titles. page drawn by John constantly lay the real world at a child’s feet.” Stern starts by concluding Byrne’s story regarding and Sal Buscema. Finally, one of the major changes of this epic run is a time-displaced Central City, where the first seeds of perhaps the way Byrne evolved artistically. As he said the upcoming departure of Sue and Reed are planted. TM & © Marvel Characters, Inc. in Modern Masters vol. 7 (May 2006): “It became my The FF are considered as gods in Central City and their first real, fulltime, me doing everything. Even inking, powers are copied by genetically altered warriors. Five

68 • BACK ISSUE • FF in the Bronze Age Issue years later, this might have been seen as a meta-message for some characters, but here it’s really just a fun story. As part of Marvel’s 25th Anniversary Month celebration, FANTASTIC FOUR VS. THE X-MEN Fantastic Four #296 (Nov. 1986) features a special Taking place right after FF #300 and Uncanny X-Men’s story plotted by Jim Shooter and scripted by Stan “ ” storyline, this four-issue miniseries Lee, with art by a lot of people. [Editor’s note: For (Feb.–June 1987) is written by Chris Claremont and more about Marvel’s 25th Anniversary Month, see drawn by . The X-Men have many BACK ISSUE #69.] The long list of artists, inkers, and the involvement of Marvel’s then-editor-in-chief may members down, especially , who is literally imply a bit of red tape. Jim Shooter said on his blog dissolving. Will Reed help her, or will Dr. Doom? in 2011: “I don’t think I ever wrote an issue of the FF. Franklin is a central character in the story, and there I plotted an anniversary. I did some rewriting on are a lot of fun-filled fights between the two teams. some botched scripts. And, being EIC, I frequently Claremont is very good here with nice characterization weighed in on the direction of the series.” Issue #296 and a different take on the FF. Available in two is a nice and well-written story by two top writers. different hardcover editions, this mini is very good! In this issue, the Thing returns to the FF. It is also the The FF are also obviously part of other group last issue edited by , who left Marvel and miniseries like The Contest of or Secret went to DC to edit John Byrne, Marv Wolfman, and Wars and Secret Wars II, especially in the first Secret Jerry Ordway on the Superman books. With the classic roster now in place (and with Wars, in which Dr. Doom is a central character and She-Hulk still on board, meaning that we have five She-Hulk joins the team. persons wearing FF costumes!), beginning with Fantastic Four #297 (Dec. 1986) a new artistic team joins regular writer Roger Stern on the book: John Buscema as penciler and his brother Sal Buscema on inks—quite a pair! And the FF embark on a cosmic mission tailor-made for Big John: large fights, big warriors, explosions … the art really shines on these first two issues. Stern follows Byrne’s plots and dives deep into Ben Grimm. Emotionally, the Thing is at the heart of the stories and he is in a dark place. He wears a full costume and a helmet, since his looks scare Franklin and he doesn’t wish to be seen. Ben contemplates suicide in roger stern #297 as he chooses to let himself wander in deep space. An intense conversation with Johnny follows, and Ben is rescued against his own will. Issue #299 (Jan. 1987) is a great buddy story, once again with a strong focus on Ben Grimm. It is also a recap of all the major events the Thing has gone through over the years. She-Hulk and the Thing exchange drinks IandF YO haveU EN J aO helluvaYED TH fightIS PR E whileVIEW Spider-Man, and the CHumanLICK T TorchHE LI NcatchK TO up O onRD Eevents,R THI Sand things start to get ISSUbetterE IN PbetweenRINT OR Johnny DIGITA andL F OBen.RM AAllT! in all, it’s a great setup to the tricentennial issue. The wedding of Johnny and Alicia is a nice done-in- one tale, in Fantastic Four #300 (Mar. 1987). It contains all the right things you’d expect in an anniversary issue: character-driven moments and dialogues, an impending threat, and the subtle presence of Dr. Doom. Then Ben (definitely in the spotlight after two years off the book) goes on team-up with Franklin against the Wizard in another fun-filled issue (#301). Roger Stern’s final issue is FF #302 (Apr. 1987), which tells the tumultuous tale of Johnny and Alicia’s honeymoon. Transition is clearly in the wind on Fantastic Four, as issue #302 features Tom DeFalco scripting over Stern’s plot,

BACK ISSUE #74 “Bronze Age Fantastic Four!” The animThisated FF, t heMan, FF radio sh oThisw Monster! of 1975, Human Torch goes solo, Galactus villain history, FF Mego figuresAnother… and the Imp omutationssible Man! Explo rforing w obadgeredrk by RICH Benjy. FF #310 BUCKLER, JOHN BUSCEMA, JOHN BYRNE, GERRY CONWAY, STEVE(Jan. ENGLEH 1988)ART, GEOR GcoverE PÉREZ, KbyEITH RonPOLLA RFrenzD, ROY and Joe Sinnott. THOMAS, LEN WEIN, MARV WOLFMAN, and more! Cover by KEITH POLLARD and JOE RUBINSTEIN. TM & © Marvel Characters, Inc. (84-page FULL-COLOR magazine) $8.95 (Digital Edition) $3.95 http://twomorrows.com/index.php?main_page=product_info&products_id=1127 FF in the Bronze Age Issue • BACK ISSUE • 69